33 The Short Story Anthology: Shaping the Canon lynda prescott One of the ways in which short stories are like poems (rather than like novels) is that they lend themselves to being collected for publication in anthologies. According to the Oxford English Dictionary the original mean- ing of ‘anthology’,inancientGreek,was‘acollectionoftheflowers of verse, i.e. small choice poems, esp. epigrams, by various authors’.Infact, ‘flowers’ and ‘choice’ areappropriatetermsforthefirst literary anthologies in Britain that appeared during the publishing boom of the second quarter of the nineteenth century: these were gift-books, containing a mix of poetry and prose that would be suitable for young women readers. Annuals such as The Keepsake were designed as elegant, illustrated gift-books, published each autumn in time for Christmas and New Year present-giving. The Keepsake, which ran from 1828 to 1857, enjoyed enor- mous sales figures and included in its roster of contributors some of the best-known writers of the day, including Walter Scott, Harrison Ainsworth and Mary Shelley (most of Shelley’s short fiction was first published in this way). The concept of annual short story anthologies has remained an important one in the development of the genre: sifting and circulating stories in yearly compilations helps to maintain the genre’s visibility in the literary marketplace as a form of writing which is ‘of the moment’.But there are numerous cross-currents in the tide of anthologies that regularly wash the shorelines of bookshops, classrooms or the virtual fringes of the Internet, and more specialized collections range across named periods, places,themesorsub-genres.Although the majority of short story anthologies are commercially oriented, often featuring specificgenres such as fantasy or ghost stories, literary anthologies can occupy influential spaces in terms of helping to shape tradition. They can not only build and perpetuate the reputations of particular writers and particular short stories, but they can also influence the formation of canons. 564 Downloaded from https://www.cambridge.org/core. University of Minnesota Libraries, on 02 Nov 2018 at 17:03:55, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781316711712.034 The Short Story Anthology: Shaping the Canon The routes by which individual stories find their way into anthologies are various. The ‘standard’ route would probably begin with the short story being published in a magazine, then, if the writer is sufficiently successful, it might be gathered with other stories in a single-authored collection; from here an anthologist might single it out for reprinting amongst a number of stories by other writers. For example, V. S. Pritchett’s ‘A Family Man’ first appeared in the New Yorker in 1977, then two years later was published with eight more of Pritchett’s recent stories in On the Edge of the Cliff, then in 1987 Malcolm Bradbury selected it for The Penguin Book of Modern British Short Stories. The first stage, magazine publication, is easier to achieve than the second, a single-authored collection: unless a writer has already built a reputation, usually as a novelist (though Pritchett would be an exception here), the market for single-authored short story collections is uncertain. So adventurous anthologists might go back to magazines, or perhaps short story compilations associated with a specific prize or project, to find less well- known writers and stories. Such ‘prize or project’ volumes could themselves be viewed as anthologies, sometimes bringing contemporary stories into print for the first time. However, the canon-forming function of anthologies is most clearly evident when there is a longer historical perspective on the selection. There are two ways in which short story anthologies can employ such historical perspectives: general anthologies are often organized chronologi- cally, whilst more specialized collections carve up the history of the genre into periods. At the ‘origins’ end of the historical sweep, anthologists of English short stories are arguably dealing with a less clearly delineated field than compilers of American short stories. This is not simply because studies of American literature have traditionally paid considerable attention to the evolution of nineteenth-century tales and short stories but also because in the United States the nature of the genre was debated in formal terms from an early date, beginning with Edgar Allan Poe’s 1842 review of Nathaniel Hawthorne’s Twice-Told Tales. In contrast, the English short story in the nineteenth-century was less well defined and, although commercially successful, was paid less attention than the realist novel. Dickens’s work is a case in point. Although a story such as ‘The Signal-Man’ can often be found in short story anthologies, the editor of his Selected Short Fiction noted in 1976 that ‘many of the assorted stories and sketches which Dickens produced throughout his career defy conventional categorization and now 1 lie buried in remote corners of his collected works’. ‘The Signal-Man’ was a comparatively late story, which Dickens produced for the Christmas 565 Downloaded from https://www.cambridge.org/core. University of Minnesota Libraries, on 02 Nov 2018 at 17:03:55, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781316711712.034 lynda prescott number of his weekly magazine All the Year Round in 1866. All the Year Round and its predecessor, Household Words, were amongst the few English middle- range magazines catering to the kind of readership equivalent to the popular American Harper’s Monthly (another key difference in the way the short story developed on opposite sides of the Atlantic). For the most part, the British short story market was divided along serious versus popular lines, and it is the stories published in upmarket periodicals such as Blackwood’s Edinburgh Magazine, The Monthly Magazine and, later, titles such as Belgravia and The Strand Magazine that have found their way into anthologies of nineteenth-century short stories. Retrieving short fictional texts from the earlier part of the nineteenth century is more problematic than selecting from the abundance of stories published in the century’s later decades. One compilation that manages century-long coverage is the Routledge anthology, Nineteenth-Century Short Stories by Women (1998), with original publication dates ranging from 1804 to 1898. Women’s writing has been a productive field for anthologists. As Susan Hill, the editor of the Penguin Book of Modern Women’s Short Stories (1991) pointed out, over half the short stories written during the twentieth century were written by women, but this was not a new development. Writing stories for magazines and annuals was a steady source of income for significant numbers of nineteenth-century women writers. The Routledge anthology includes twenty-eight stories, some by writers well known as novelists, such as Maria Edgeworth (with ‘The Limerick Gloves’ from her Popular Tales of 1804), Elizabeth Gaskell (represented by one of her Household Words stories, ‘A Manchester Marriage’, 1858) and Margaret Oliphant (whose ‘A Story of a Wedding Tour’ appeared in Blackwood’s in 1898). Over half of the stories in this anthology are from the 1890s, reflecting the rise of ‘little magazines’ such as The Yellow Book, which, though short-lived (1894–7), proved an influential outlet for women’s fiction. Several of the writers represented in the Routledge anthology also appear in The Broadview Anthology of Victorian Short Stories (2004), though for the most part different stories are selected. An exception is Mary Shelley’s Keepsake story of 1833, ‘The Mortal Immortal’, which not only appears in both these modern anthologies but was already a favourite in nineteenth- century collections. The novelist Charles Gibbon reprinted it in his two- volume anthology, The Casquet of Literature, being a Selection of Prose and Poetry from the Works of the Most Admired Authors (1873–4), and during the 1890sit appeared in further English and American collections. As a story of ‘the supernatural’ with thematic links to Shelley’s earlier novel, Frankenstein,it 566 Downloaded from https://www.cambridge.org/core. University of Minnesota Libraries, on 02 Nov 2018 at 17:03:55, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781316711712.034 The Short Story Anthology: Shaping the Canon has featured in several genre-based anthologies, including Sam Moskowitz’s Masterpieces of Science Fiction (1966). Another story that appears in both the Routledge anthology of women’s short stories and the Broadview Victorian Short Stories is Mary Elizabeth Braddon’s ‘Eveline’s Visitant’ (1862). This, too, has been appropriated for genre-based anthologies, including the 2005 Wordsworth Book of Horror Stories. Routledge’s Nineteenth-Century Short Stories by Women can be seen as part of the later twentieth-century’s recovery of women’s literature that was stimulated by works of feminist criticism such as Ellen Moers’s Literary Women (1976) and Elaine Showalter’s A Literature of their Own (1977). At the same time, new feminist publishers, notably Virago (founded 1973)andthe Women’s Press (founded 1978), promoted both fictional and nonfictional writing, including some anthologies. Again, sub-genres can be seen to flourish, as in the Women’s Press wittily titled collections of crime stories, Reader, I Murdered Him (edited by Jen Green, 1989)andReader, I Murdered Him, Too (edited by Helen Widrath, 1995). Although many of the authors in these collections are American, United Kingdom-based contributors include the prominent Scottish crime writer Val McDermid. Back in the mainstream of literary short stories, Virago published in 1986 one of the best-known anthologies of twentieth-century women’s short stories, Wayward Girls and Wicked Women,subtitledAn Anthology of Subversive Stories, edited by Angela Carter.